In his work, Eduardo Veronese investigates how images bring different temporalities into relation. Rooted in photography, his practice extends into writing, moving image, installation, and digital interfaces.
Aphantasia, the inability to voluntarily form mental images, shapes Veronese’s working method. Rather than executing images previsualized in the mind, he constructs relations externally through sequencing, layering, repetition, transposition across media, and random recombination. His works treat images not as fixed records, but as devices through which different configurations of time can appear, disappear, and take on new forms.
In Seeking Grace, photographs made during slow, open-ended wanderings are sequenced to trace the entanglement of human, architectural, natural, and spiritual durations. In Uyuni–Atacama, photographs made with a disposable camera during a four-day crossing from Bolivia to Chile set the brevity of human transit against landscapes formed over geological time.
Had I Been an Architect approaches time counterfactually: a narrated video and a wall-based arrangement of text and overlapping prints give form to a life imagined but not lived. Bound to Succeed, a feature screenplay, follows a businessman during a ten-day silent meditation retreat as memory, ambition, and imagined futures begin to overlap.
Other works examine how meaning changes as images pass through systems. I’m Feeling Lucky uses the logic of a slot machine to generate provisional sequences through chance. In Me: Myself & AI, a monthly photo-booth self-portrait moves from body to photograph, scan, AI-generated textual description, and AI-generated image; at each passage, information is lost, added, and reconfigured.
Eduardo Veronese (b. 1990, Brazil) is a photographer and writer based in Porto, Portugal. Trained as a civil engineer, he built a career in business management and earned an MBA from Columbia University in New York.
email: info@eduardoveronese.com